Category: Electro

Review: mmph – Serenade

Sae Heum Han, otherwise known as mmph, has released his second EP of electronic instrumentals – Serenade – and I’m not sure I can describe it better than the official press release for it, which states:  “Melodically focused, orchestrally informed and rhythmically driven, each of Serenade’s five songs utilize a different classical trope to create Wagnerian suites in miniature. ‘Minuet’ is a stately dance in triple time (performance), ‘Tragedy’ is a play (death), ‘Elegy’ is a mourning poem (death), and ‘Serenade’ is a courtship song often played in the open air (love).”

“Minuet” is indeed a performance, with big, crashing guitars, percussion, and synths before lush pianos and strings take over the track.  The choppy synths on “Tragedy” remind me of a crashing helicopter (or at least the sounds of such an event when seen in action films), which is appropriate for the title.  They become almost angelic wails at one point.

The middle track, “Woodlawn,” starts and stops with chopped-up beats that resemble panicked breathing and uncertainty.  “Elegy” is the creepy little synth brother to Mussorgsky’s “A Night on Bald Mountain.”  The synths become gothic chants and the beats are the flapping of demon wings.  The title track’s themes of love and courtship is evident from the first few notes.  Synths bloom and burst and chase each other around like giddy lovers.

Serenade is an impressive piece of work.  It’s bold and artful, and one of the more interesting electronica albums this year.

Keep your mind open.

[Subscribe, won’t you?]

Jon Hopkins’ new single and video, “Singularity,” is an electro stunner.

Jon Hopkins Shares “The Single Most Epic Video I’ve Ever Had Made” —
 Watch The Video For “Singularity,” Directed by Seb Edwards HEREJon Hopkins Currently On Sold Out International Singularity Tour,
Including Pitchfork Live Performance On Tue. Sep. 25
(photo credit – Khalid Mohtaseb)
Jon Hopkins is proud to share the video for the title track off his highly acclaimed new album, Singularity. Directed by Academy Films’ Seb Edwards, “Singularity” is the visual pinnacle of this project, and a continuation and deepening of all the themes that pervade Hopkins’ work.

Jon Hopkins says of the video: “This is the single most epic video I’ve ever had made. Seb has been a friend and collaborator for nearly 15 years now, but this is the first opportunity we’ve had to work with total freedom on a video for my own music. The power of what he has done left me speechless the first time I saw it. He translated the themes of destruction and defiance that I fed into the music into a powerful, violent ballet between male and female and I totally love it.”

“I’ve always loved Jon’s work and we’ve been wanting to collaborate for a while,” comments Seb Edwards. “‘Singularity’ is such an incredible track, its merciless intensity somehow reflects our troubled times. I wanted to capture the feeling of defiance that rises from the initial brutality. The track is ultimately about acceptance and finding peace in nature. I hope I did it justice.”

In what has been an incredibly successful 2018 thus far, Hopkins is currently on a sold out tour in North America and will return to Europe and UK for a slew of sold out dates. A special Pitchfork Live stream will take place Tuesday, September 25th at 2pm Eastern. A full list of shows including festival appearances can be found below.
Additionally, Jon Hopkins and Daniel Avery have recently remixed each other’s songs. Listen to Jon Hopkins’ “COSM” (Daniel Avery remix) and Daniel Avery’s “Glitter” (Jon Hopkins remix) HERE.
“Singularity” video credits:
Production Company – Academy Films
Director – Seb Edwards
EP – Medb Riordan
Producer – Ash Lockmun
Cast – Aliashka Hilsum
Cast – Jarkko Mandelin
DOP – Khalid Mohtaseb
Production Designer – Robin Brown
Choreographer – Hofesh Shechter
Stylist – Bratsk
Local Service Production Company – BAS Productions, Belgrade
Editor: Sam Rice-Edwards @ Assembly Rooms
Sound Design – Mark Hills @ Factory Studios
Colourist – Jean-Clement Soret @ MPC London
VFX by Mikros-MPCPraise for Singularity:

“One of the most celebrated electronic musicians of his generation.” — New Yorker

“Pitched between heat-seeking acid house and ambient bliss, the techno auteur’s first album since 2013 is a beat-music odyssey that thrums with spiritual resonance” — Pitchfork, Best New Music

“With one weird trick, Jon Hopkins collapses the tedious boundary between dancefloor hedonism and chin-stroking ‘intelligence’ that plagues so much electronic music.” — SPIN, Best Songs of 2018 So Far

“Simple melodies fracture and layer into a complex soundscape; lush sounds and textures are constantly developing and regenerating. They break and rebuild, conjuring a tale of evolution and destruction.”
— Stereogum, Best Albums of 2018 So Far

“As with Immunity before it, you’d be hard-pressed to hear a more inexplicably
moving electronic album this year.” — The AV Club, Best Albums of 2018 So Far

“[Hopkins] creates landscapes on Singularity, but unlike much ambient music that wants you to sit in the middle of it and simply bask, Hopkins takes your hand and guides you through
the vast and detailed landscape.” — Uproxx, Best Albums of 2018 So Far

“From beginning to end, through songs fast or slow, ambient or hard-hitting, Hopkins never fails to provide the listener with an aural massage. He displays the perfect balance of tones, textures, and volumes in a highly-effortless way.” — HYPEBEAST, Best Music Projects of 2018 So Far

“Jon Hopkins knows how to fill a dance floor with techno that throbs insistently. But he’s also got
a tremendous gift for the comedown; for warm, ambient baths of sound
that slow the blood and settle the mind” — NPR Music

“A sonic realization of a better world, conceived in the depths of psychedelic experimentation”
— MOJO, 4*

“His long standing enchantment with nature, electricity
and mindfulness glimmers anew on Singularity” — Q Mag, 4* 

Stream/Purchase Singularity –
http://smarturl.it/SingularityJH

Watch “Everything Connected” Visualizer –
http://smarturl.it/ConnectedVid

Watch “Emerald Rush” Video –
http://smarturl.it/EmeraldRushVid

Watch Singularity Trailer –
https://bit.ly/2F1mzkg

Jon Hopkins Singularity Live Tour 2018
Wed. Sep. 19 – Los Angeles, CA @ The Fonda #
Thu. Sep. 20 – San Francisco, CA @ Regency Ballroom #
Thu. Sep. 20 – San Francisco, CA @ Folsom 1015 (DJ)
Sat. Sep. 22 – Seattle, WA @ Neumos ^
Sun. Sep. 23 – Vancouver, BC @ Imperial ^
Tue. Sep. 25 – Brooklyn, NY @ Brooklyn Steel ^
Wed. Sep. 26 – Cambridge, MA @ The Sinclair, Together Fest
Wed. Oct. 10 – Oslo, NO @ Rockefeller
Thu. Oct. 11 – Stockholm, SE @ Nobelberget
Fri. Oct. 12 – Copenhagen, DK @ Den Grå Hal
Sat. Oct. 13 – Turin, IT @ Movement Festival
Thu. Oct. 18 – Dublin, IE @ Vicar Street
Fri. Oct. 19  – Glasgow, UK @ The Galvanizers
Sat. Oct. 20 – Amsterdam, NL @ Paradiso for ADE
Sat. Oct. 20 – Amsterdam, NL @ Het Sieraad for ADE (DJ)
Wed. Oct. 24 – Brussels, BE @ AB
Thu. Oct. 25 – Berlin, DE @ Columbiahalle
Fri. Oct. 26 – Paris, FR @ Le Trianon
Sat. Oct. 27 – Bilbao, ES @ BIME Live
Fri. Nov. 2 – London, UK @ o2 Brixton Academy
Sat. Nov. 3 – London, UK @ o2 Brixton Academy
Sat. Nov. 17 –Newcastle, UK @ Boiler Shop
Thu. Nov. 22 – Manchester, UK @ Albert Hall
Fri. Nov. 23 – Rome, IT @ Spazio 900
Wed. Nov. 28 – Madrid, ES @ La Riviera
Fri. Dec. 21 – London, UK @ Jon Hopkins Curates Fabric (DJ)

# = with Daniel Avery
^ = with Leon Vynehall

Download hi-res press images –
www.pitchperfectpr.com/jon-hopkins/

Keep your mind open.
[A single subscription opens your e-mail inbox to new music.]

Celer’s newest track, “Tetra,” is haunting and meditative.

Celer Announces New Album, Memory Repetitions,
Out Nov. 9th On Smalltown Supersound

Listen To “Tetra”
https://soundcloud.com/smalltownsupersound/tetra-1/s-WrLJM
“…a drawn-out conversation, pierced by wandering drones and incidental sound.” — NPR Music on Close Proximity and the Unhindered Care-all

 

“Long invites us to tune in and be moved, or to drop out and continue on as ever.” — The Quietus

 

“…an album that captures the beauty of every day, the electronic elegance of Berlin, and worldly melodies.” — Tiny Mix Tapes on Voyeur

Will Long (aka Celer), is pleased to announced his new album, Memory Repetitions, out November 9th on Smalltown Supersound. The album’s opening piece, “Tetra,” is available to stream below.
Listen To Celer’s “Tetra” — 
https://soundcloud.com/smalltownsupersound/tetra-1/s-WrLJM

Operating outside the limelight in the underground, Will Long has produced prolifically across genres, monikers, and countries since 2006. Predating his minimal house contributions under his given name to DJ Sprinkles’ Comatonse label and Smalltown Supersound, Long has put forth over a hundred collections of ambient compositions in stream of consciousness fashion under the name Celer. A native to America, Long has been based in Tokyo since 2011, where he has continued to expand upon his vault of celestial arrangements, amassing a cult following over the years by releasing them on under-the-radar labels, his own Two Acorns label, and on his Bandcamp.

Memory Repetitions serves to reflect on the labyrinthine body of work that comprises Celer. Spanning five pieces, each roughly thirty minutes in length, the compilation is being released as a 5-CD box set alongside its digital format.
Pre-order Memory Repetitions — http://smarturl.it/sts331-preorder

Download album art & hi-res images of Celer — http://pitchperfectpr.com/celer/

(Memory Repetitions album art)

WWW  | Bandcamp | Soundcloud | Smalltown Supersound

Keep your mind open.

[Float along with me by subscribing.]

Miss Red – K.O.

Weighing in at…I have no idea, actually, but she can’t be more than a featherweight, Miss Red has unloaded an album worthy of its title – K.O.

I described Miss Red’s music to a coworker as “Jamaican dancehall by way of Israel and Germany.”  He claimed not to understand it, but his head was bobbing and his hips were moving before he realized what was happening.

Collaborating once more with beat master the Bug, Miss Red throws out “Shock Out” like a quick jab testing her opponent’s guard.  When it lands at the 43-second mark, it about splits your nose open.  Red’s rapping is fast, smooth, sexy, and dangerous.  Bug’s beats are like a growling, prowling bear emerging from its den ready to devour anything in its path.  “Give me the money and pass me the mic,” Red sings on “One Shot Killer.”  “One move wrong and you’re gonna see me bite,” she warns / tempts before her vocals take on a smoky quality that is difficult to describe but wonderful to hear.

She bobs, weaves, and shuffle steps with amazing speed on “Money Machine.”  I don’t think she’s keeping up with the Bug’s thumping beats so much as they’re keeping up with her.  “Alarm” is a short banger, almost like a blitz of punches that disappears as quickly as it begins, like a set-up for a stronger blow.  That stronger blow is “War” – a dub mind-trip that feels as punch-drunk as it sounds.  “Come Again” has Red claiming her heavyweight (in terms of skill) title from people who can’t match her game.  The synth-bass on it is some of the biggest on the record, too.  “Big” has her letting everyone know she’s far bigger than her size would have you believe.  She might be small, but Miss Red is a giant throwing lighting bolts from thunderclouds once she grabs the mic.

“Clouds” is another trippy dub track, and the electronic beats on “Dust” bubble into a wicked brew.  “Dagga” is the first single off K.O., and it’s a good choice.  It highlights Red’s vocal chops and the Bug’s wicked beats well.  As good as that is, however, “Slay,” is downright jaw-dropping.  It’s an instant floor-filler and one of the hottest club tracks of 2018.  I can’t wait to hear this live.  Red brings a kinky swagger to her lyrics (more than usual) and the Bug’s beats and breakdowns almost aren’t fair to practicing DJ’s like yours truly.  The haunting “Memorial Day” belongs in a modern-day giallo film.  Red opts for more singing than rhyming, and the Bug’s beats crackle like a bowl of your favorite cereal.  The title track closes the album, and it’s a quick fadeout with Miss Red mostly chanting, “K.O.” throughout it.  It’s like having your bell rung and seeing the lights go out as you fall to the mat in blissful stupor.

Miss Red is a fierce opponent.  I wouldn’t want to face her in a rap battle, let alone in a street fight.  She’d probably seduce you with her agile vocals and then break at least one limb while your guard was down.  Still, you’d have a great story to tell afterwards.

Keep your mind open.

[Keep swinging by subscribing.]

Thom Yorke’s “Tomorrow’s Modern Boxes” solo tour starts November 23rd.

 

Radiohead front man Thom Yorke has announced a bunch of U.S. tour dates this fall to promote and play his solo material.  Joining him will be producer (and frequent Radiohead collaborator) Nigel Godrich and visual artist Tarik Barri. Oliver Coates, a London-based cellist, will be the opening act.

The dates are as follows:

November 2018
23rd  Electric Factory – Philadelphia, PA
24th  Wang Theatre-Boch Center – Boston, MA
26th  Kings Theatre – Brooklyn, NY
27th  Kings Theatre – Brooklyn, NY
30th  John F Kennedy Center For The Performing Arts Concert Hall – Washington, DC

December 2018
1st  Keybank State Theatre – Cleveland, OH
2nd  Masonic Temple Cathedral Theatre – Detroit, MI
4th  Chicago Theatre – Chicago, IL
5th  Riverside Theater – Milwaukee, WI
6th  Northrop at the University of Minnesota – Minneapolis, MN
8th  Stifel Theatre – St. Louis, MO
9th  Arvest Bank Theatre at The Midland – Kansas City, MO
11th  Paramount Theatre – Denver, CO
13th  The Union – Salt Lake City, UT
15th  Bill Graham Civic Auditorium – San Francisco, CA
17th  The Observatory, North Park – San Diego, CA
19th  Orpheum Theatre – Los Angeles, CA
20th  Orpheum Theatre – Los Angeles, CA
22nd  The Chelsea at The Cosmopolitan of Las Vegas – Las Vegas, NV

Tickets will surely sell out for most, if not all, of these shows.  Don’t wait too long to score some.

Keep your mind open.

[Don’t wait too long to subscribe either.]

Luaka Bop to reissue rare Preacherman album on October 12th.

Luaka Bop Announces Preacherman Reissue, Universal Philosophy: Preacherman Plays T.J. Hustler’s Greatest Hits, Out October 12th

Listen To “Feel It”
Tim Jones is known by several different monikers; Preacherman, Midi Man and Ironing Board Band to name a few. Though perhaps his most notable is the one that describes him best, T.J. Hustler. In 1979 as T.J. Hustler, Jones self-released one extremely rare LP, Age Of Individualism. In the years since, he’s released two even rarer CD’s as Preacherman, of which the tracks on this forthcoming reissue, Universal Philosophy: Preacherman plays T.J. Hustler’s Greatest Hits (out October 12th on Luaka Bop), are taken.
Stream Preacherman’s “Feel It” — 
https://youtu.be/35waZLUTbU0Watch Universal Philosophy Teaser Video — 
https://youtu.be/S4xHRkwlWUY

In the 1980’s Jones was a technician for IBM in both Las Vegas and San Jose where he repaired Selectric Typewriters and word processors during the day. At night he world perform in the Las Vegas lounges. Thoroughly fascinated by technology and also an engineer in his own right, Jones adapted a Hammond B3 organ to play a Moog synth with some of the organ’s keys (some still played the organ) and also adapted the organ’s foot controlled bass levers to play two Moog synth bass pedals (a failed item Moog made for a few years). Thinking he wasn’t much of a live performer, he had a custom wooden puppet made named T.J. Hustler. Together, Tim Jones/Preacherman and T.J. Hustler would perform long philosophical soliloquies.These days Jones, (“pronounced JOANZ”, says Tim), is CEO and founder of Up Productions and lives with his 103 year-old mother — the eldest living person in Oakland — in a stunning apartment overlooking Lake Merritt. With his Casio CTK-7200 keyboard, equipped with five wireless mics, a P.A., Jones performs karaoke, easily matching whatever song request you might have. Unfortunately, T.J. Hustler (the puppet) live in a storage unit in Las Vegas, Nevada, along with the modified organ.

(Photo credit: Eric Welles-Nystrom)

Perhaps even more so than his first album, Universal Philosophy grants listeners access, virtually for the very first time, to Jones’ outlook, his purpose, and the way he lives and experiences life on this planet. The music presented here is otherworldly, homespun, folk art funk; concise and stream-of-consciousness simultaneously.

Universal Philosophy will be released on vinyl (with gatefold jacket), CD and digital.

Universal Philosophy: Preacherman Plays T.J. Hustler’s Greatest Hits Tracklist:
01. That’s Good
02. Feel It
03. Tell Me Why
04. Out Of This World
05. Age Of Individualism
06. Up And Down
07. The Wrong Way (CD Version Only)

 

Pre-order Universal Philosophy: Preacherman Plays T.J. Hustler’s Greatest Hits — 
https://luakabop.lnk.to/PreachermanDownload album art & hi-res images of Preacherman — 
http://pitchperfectpr.com/preacherman/

(Universal Philosophy: Preacherman Plays T.J. Hustler’s Greatest Hits album art by Kevin Harris)
Keep your mind open.
[Expand your music universe by subscribing.]

Lindstrom’s new single, “Blinded by the LEDs,” is one of the best electro tracks of 2018 so far.

Lindstrøm Presents New Single, “Blinded By The LEDs,”
To Celebrate Oslo’s Henie Onstad Kunstsenter’s 50th Anniversary

Listen HERE

 
(above image by Lin Stensrud)
Norwegian electronic producer, Lindstrøm, presents new single “Blinded By The LEDs,” a commissioned work to preview his forthcoming performances later this month celebrating the 50th anniversary of Henie Onstad Kunstsenter, Oslo’s famous futuristic waterside modern art center gallery and live venue. The sold out performances happening August 23rd, 25th & 26th take place exactly 50 years after the legendary Norwegian contemporary composer Arne Nordheim performed “Solitaire,” an electro-acoustic contemporary composition, on opening night in 1968. For these performances, Lindstrøm will do an entirely analogue performance of 10+ songs live on more than 20 analogue synthesizers and drum machines with visuals.

Out today via Smalltown Supersound, “Blinded By The LEDs” is a reference to both Bruce Springsteen and Manfred Mann’s Earth Band. And rather than riff on Nordheim’s musique concréte, Lindstrøm has woven his own signature tapestry of influences and inspirations into the song, including Kate Bush’s “Running Up That Hill,” ESG’s “Moody,” Queen’s “Back Chat,” Liquid Liquid’s “Cavern,” Sheryl Lee Ralph’s “In The Evening,” John Carpenter’s “Assault On Precinct 13,” and Lindstrøm’s own “Fast & Delirious.”
Listen to Lindstrøm’s “Blinded By The LEDs” –
https://youtu.be/xQNm7dzLJEE

Download hi-res press images of Lindstrøm and album art –
http://pitchperfectpr.com/lindstrom/

Facebook | Twitter | Smalltown Supersound

Keep your mind open.

[Stay groovy by subscribing.]

Steve Hauschildt – Dissolvi

Chicago resident and electronic minimalist musician Steve Hauschildt experiments with introspection on his new record, Dissolvi.  Reducing the self leads to viewing the world as it is and not as you wish it to be (the first step in the Eightfold Path).  Through this record, Hauschildt tries to do just that and encourages us to do the same.

The title of the opening track, “M Path,” is a play on “empathy” – someone who can sense emotional states.  It’s bubbly and curious, perhaps as it might be if one could instinctively tap into another’s emotions.  Hauschildt’s synths float around you like jellyfish throughout the track.  “Phantox” dials down the curiosity to meditative introspection.  The quiet dance floor bass thumps are even restrained as they remind you of an excited pulse.  “Saccade” is restful yet seductive, especially with Julianna Barwick‘s guest vocals that snuggle up to you like a cat.

The seven-minute “Alienself” lands in the middle of the record and is an interesting view on Hauschildt’s vision of himself.  Don’t we all feel alien at some point(s) in our lives?  We feel like we don’t belong or are witnessing things so bizarre that they are hard to fathom.  This can happen every day if you watch the news.  Thankfully, Hauschildt takes the right approach by embracing this alien within and looking at the world with outsider’s eyes.  The song floats along with the same curiosity found on “M Path,” but with a bit of a more playful sound with popping bass and toned down dance synths.

“Aroid” is the soundtrack of replicant dreams, or the ambient music playing on the ship taking you to the off-world colonies.  Dance beats take front stage on “Syncope,” and I think it’s impossible to sit still during the song.  Not that it’s a floor-filler or a club banger.  It’s subtle dance music.  That’s probably the best way I can describe it.  “Lyngr” is another excellent “subtle dance” track, but with faster beats and synths that pop all around you.  The bass on the title track is so fuzzed out that it sounds like the footsteps of an electric giant.

It’s a lovely record, and certainly one of the most upbeat ambient albums of the year (and who even knew there were such things).  It will help you dissolve out of whatever doldrums you’re experiencing at the moment and at least bring you into the present long enough to change your outlook.

Keep your mind open.

[Don’t let your e-mail inbox dissolve into nothing.  Subscribe and get updates sent straight there.]

Rewind Review: Ladytron – Live at London Astoria 16.07.08 (2009)

If you’re like me and eager to hear Ladytron‘s upcoming album and catch them on tour for it, their 2009 release of Live at London Astoria 16.07.08 is a great morsel to tide you over until the new record’s release and subsequent tour.  The show was a rescheduled gig for one that had to be cancelled a couple months earlier due to a power outage.  The band’s urge to make amends with fans can be felt throughout the power of the entire set.

The live album starts off with a robotic version of “Black Cat” with lead vocals in Russian.  “Runaway” follows, bringing dark wave-like bass and great echoed vocals.  The guitars and droning synths on “High Rise” might induce vertigo if you’re not careful while listening to it.  “Ghosts” has some of my favorite Ladytron lyrics, “There’s a ghost in me who wants to say, ‘I’m sorry doesn’t mean I’m sorry.'”  It’s a spooky song about relationships, quite possibly involving at least one lover who is dead.

“Seventeen” is one of my favorite Ladytron cuts, and it’s one of the most damning songs about the fashion industry ever (“They only want you when you’re seventeen.  When you’re twenty-one, you’re no fun.”).  The live version is thumping with synth bass.  “I’m Not Scared” hits hard with bright synths blending with rock drums.  “True Mathematics,” with more great Russian vocals, hits even harder.  I hope they play it on their next tour, because it’s outstanding.  “Season of Illusions” is a bit lighthearted, but don’t worry because “Soft Power” drops you right back into the dark with synths that sound like they’re being played in a tomb.  “Playgirl” was a big hit for the London crowd, judging from their reaction when Ladytron announces it’s the next track.

“International Dateline” is practically a goth love song, and “Predict the Day” surprises you by starting with whistling and then unloading sticky synth bass and sexy beats.  “Fighting in Built Up Areas” is another Russian vocal treat, and “Discotraxx” would do Giorgio Moroder proud with its slick electro dance beats.  They dedicate “The Last One Standing” to everyone who was at the show that was cancelled months earlier.

They chose “Kletva,” “Burning Up,” and “Destroy Everything You Touch” for their encore.  It’s a nice end to a fun show.  They originally just release 100 copies of it at the show, so I’m glad they put it out for wide release.  You should be, too.

Keep your mind open.

[Subscribing won’t destroy your inbox.  It’s safe as houses.]

Wild Nothing’s groovy new single, “Partners in Motion,” is a sweet track for the summer.

Wild Nothing Presents “Partners In Motion,”
New Single Off Indigo, Out August 31st On Captured Tracks

Listen HERE

photo credit – Cara Robbins
 “a project that has virtually perfected the art of writing about romance”
– Vulture, Summer Music Preview

“an intoxicating, pristine cut of melancholy pop”
– The A.V. Club, 2018’s Second Half Preview

“A retro sensibility is nothing new for Tatum, but the urge sounds more fleshed out on
[‘Letting Go’], more bright and ambitious. . . The effort to stay true to his digital
creations shines through in the tight, sparkly rendering.” — Stereogum

“[‘Letting Go’]s chiming guitar and Tatum’s sweet falsetto in the chorus bring you to a pastel-painted room where there’s a slow-motion pillow fight going on.” — Paste

“On ‘Letting Go,’ Jack Tatum’s Wild Nothing project is working in familiar dreamy and nostalgic territory, though this is a little more frenetic and muscular than usual. By the time the bridge hits, though, Wild Nothing shows a willingness to experiment and wade into uncomfortable waters. It’s enough to pique interest into what’s to come.” – Uproxx

Wild Nothing, the project of Los Angeles-based Jack Tatum, will release his fourth album, Indigo, on August 31st via Captured Tracks. He’ll tour North America for a month beginning mid-October with newly announced support, Men I Trust. After presenting the chiming guitar and sweeping synths of lead single, “Letting Go,” Wild Nothing now shares the ’80s-heavy “Partners In Motion” featuring saxophonist Taylor Plenn. As discussed with FADER, it’s a song he’s been inching towards for years.

Recorded at LA’s Sunset Sound and produced by Tatum and Jorge Elbrecht, Indigo is its own cyborg world, utilizing the artful mechanisms of human touch with the precision of technology to create the classic, pristine sound Tatum has been seeking his entire career. After a decade of making music as Wild Nothing, Indigo finds Tatum at his most efficient, calculated, and confident. It’s both a return to the fresh, transcendent sweep of his debut, 2010’s Gemini, and a culmination of heights reached, paths traveled, and lessons learned while creating the follow-ups, Nocturne and Life of Pause.

To make Indigo, Tatum confronted the Man vs. Machine dichotomy by seizing on the surrounding synergy. In his studio, he would write pieces of songs with whatever instruments and programs held his interest on any given day. He built a series of highly detailed demos, intending to record the final package swiftly with a live band in a studio and in a clear, bright, 1980’s-inspired fidelity. “I wanted it to sound like a classic studio record, as close as I could get it there. It just boils down to me wanting to fit into some larger narrative, musically, in terms of these artists I love,” says Tatum. “I think about how my music will age. Ideas of ‘timeless’ are going to be different—so if Indigo is not timeless then it’s at least ‘out of time.’”

Stream “Partners In Motion” –
https://youtu.be/6ksagHpqCKo

Stream “Letting Go” –
https://WildNothing.lnk.to/LettingGo

Pre-order Indigo –
https://WildNothing.lnk.to/Indigo

Wild Nothing Tour Dates:
(all shows with Men I Trust)
Tue. Oct. 16 – Carrboro, NC @ Cat’s Cradle
Wed. Oct. 17 – Atlanta, GA @ Terminal West
Thu. Oct. 18 – Birmingham, AL @ Saturn
Fri. Oct. 19 – New Orleans, LA @ Gasa Gasa
Sat. Oct. 20 – Houston, TX @ White Oak Music Hall
Sun. Oct. 21 – Austin, TX @ Mohawk
Tue. Oct. 23 – Santa Fe, NM @ Meow Wolf
Wed. Oct. 24 – Phoenix, AZ @ Crescent Ballroom
Thu. Oct. 25 – Santa Ana, CA @ Observatory
Fri. Oct. 26 – Los Angeles, CA @ The Regent Theater
Sat. Oct. 27 – San Francisco, CA @ The Independent
Tue. Oct. 30 – Portland, OR @ Revolution Hall
Wed. Oct. 31 – Vancouver, BC @ Imperial Vancouver
Thu. Nov. 1 – Seattle, WA @ Neumos
Fri. Nov. 2 – Boise, ID @ Neurolux
Sat. Nov. 3 – Salt Lake City, UT @ Urban Lounge
Sun. Nov. 4 – Denver, CO @ Bluebird Theater
Tue. Nov. 6 – Omaha, NE @ The Slowdown
Wed. Nov. 7 – Minneapolis, MN @ Cedar Cultural Center
Thu. Nov. 8 – Madison, WI @ Majestic Theatre
Fri. Nov. 9 – Chicago, IL @ Thalia Hall
Sat. Nov. 10 – Detroit, MI @ El Club
Mon. Nov. 12 – Toronto, ON @ Opera House
Tue. Nov. 13 – Montreal, QC @ Corona Theatre
Wed. Nov. 14 – Boston, MA @ Royale Nightclub
Fri. Nov. 16 – Brooklyn, NY @ Brooklyn Steel
Sat. Nov. 17 – Philadelphia, PA @ Underground Arts
Sun. Nov. 18 – Washington, DC @ 9:30 Club

Download hi-res press images and cover art –
www.pitchperfectpr.com/wild-nothing/

Indigo cover art
Keep your mind open.
[Let’s be partners.  Subscribe.]